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MULTI PURPOSE MIXERS



Great sound quality, professional build

quality, flexible 4-bus architecture and a

space-saving sixteen mic inputs and direct

outputs in a rack-mounting frame made

the original Soundcraft FX16 popular in

both live and recording applications. Now

the pro’s choice gets even better with anew 24-bit Lexicon on-board effects

section and universal internal power

supply (see right).

A comprehensive feature set includes 16

mic/line inputs and 26 inputs to mix in

total (including stereo returns and tape

return to mix). In addition to the mix

outputs, 2 buses allow groups of

instruments to be sent to additional

speakers, or sub-grouped to mix. 16 Direct

Outputs are individually switchable pre or

post fader, making them equally useful for

multitrack recording or live use. Both Solo

In Place and PFL solo are available, for

studio monitoring and channel gain set-up

applications respectively.

All 16 mic/line inputs are equipped withhigh quality UltraMic™ preamps while a

‘truly British’ 3-band EQ with swept mid

benefits from custom designed pots which

give greater control across carefully chosen

frequencies. There are 4 Auxiliary Sends,

including a dedicated effects send, 1 pre-

fade send and 2 pre/post-fader selectable

sends which are equally useful as extra

foldback sends or as effects sends in studio

mixdown situations. In addition, there are 4

Stereo returns, a separate Mono Sum

Output and 2 Subgroup Outputs.

A truly professional feature set is

completed by 100mm faders for precision

mixing control, and the FX16ii fits all of

these features into a rugged, compact

frame which can be optionally rack-

mounted into a 10U space. Cables can be

conveniently located behind the rack bysimply rotating the connector pod.

FX16ii

THE PROFESSIONAL’S CHOICE FORMORE THAN 10 YEARS, NOW THE FX16

GETS STUNNING 24-BIT LEXICON EFFECTS.

A - Connector pod positioned for desktop use.

B - Connector pod rotated for rack-mounting.

A

B



ON-BOARD EFFECTS FROM

THE WORLD-LEADERS IN

DIGITAL SIGNAL PROCESSING.

For more than 35 years, Lexicon has been

synonymous with the best reverb andprocessing in the business, continuously

introducing ground-breaking technology to

the audio industry. Today, Lexicon processing

is heard on over 80% of all recordings -

broadcast and film soundtracks. Now

Soundcraft empowers three ranges of multi-

purpose mixers – FX16ii, EFX, and MFXi –

with stunning 24-bit digital effects

processing using the same AudioDNA®

processor used in the highly-acclaimed

Lexicon MX300 processor.

A total of 32 preset effects including reverbs,

delays and choruses are available along with3 effects parameter controls and a tap

tempo button.

The versatility of the effects section is further

enhanced by the facility to store user-defined

effects settings allowing the user to return to

their favourite settings time after time.

Effects can be switched on and off using a

footswitch.

Effects section

from EFX mixer

shown above.

Features and

functionality of

FX16ii, EFX and

MFXi mixers are

the same, but

layouts differ slightly.

KEY FEATURES

• 26 inputs as standard

• 16 mono channels with UltraMic™ preamps

• 4 stereo returns

• 4-bus architecture with sub-group routable to mix

• 24-bit Lexicon effects processor

• Direct outputs for multitrack recording individually

switchable for pre/post fade operation

• 100mm faders

• Inserts on all mono channels

• Inserts on stereo mix bus

• 3-band ‘British’ EQ with swept mid-band

• 100Hz high-pass filter

• +48V phantom power

• 10 segment tri-coloured metering

• 2 sub-group outputs

• Rack mountable with rotating rear panel

• Universal internal power supply

Empowers theFX16ii, MFXi &EFX consoles.



SOUNDCRAFT SOUND QUALITY, PERFORMANCE AND VALUE FOR

MONEY IN A VERSATILE RANGE OF MULTI PURPOSE MIXERS

– AVAILABLE WITH AND WITHOUT EFFECTS.

EFX/EPM mixers bring Soundcraft sound

quality, performance and value-for-money toa wide range of applications including

recording, live sound, install and broadcast.

Available in 8 and 12 mono input channel

configurations, the EFX mixers feature built-

in Lexicon 24-bit processing, providing

access to 32 world class reverb, delay and

chorus effects (see previous page). For users

preferring to use external processing, three

EPM mixers – (6, 8 and 12 mono inputs) –

replace the EFX’s internal FX send with a

second Aux send. All EFX/EPM mixersfeature 2 stereo channels as standard.

Configured for desktop use with all audio

connectors conveniently located on the toppanel, EFX/EPM mixers can be easily

converted for rack-mounting using an

optional rack kit, with each mixer occupying

just 8U of standard rack space.

EFX/EPM mixers feature professional +48V

phantom power for condenser microphones

and use the same GB30 microphone

preamps used on Soundcraft’s acclaimed,

large format GB Series consoles to achieve

exceptional clarity, low-noise and controlled

overload characteristics.

Drawing on more than 30 years of

experience manufacturing professionalmixing consoles, Soundcraft has equipped

the EFX/EPMs with all the appropriate

features for modern mixing applications, at

the same time creating an uncluttered and

intuitive control surface that enhances the

operator experience.

Visual feedback is further enhanced by peak

LEDs on all input channels which are fed

from multiple points in the signal path to

ensure that nothing is overlooked. The LEDs

illuminate in proportion to the signal levelwhen approaching peaks, enabling the

EPM/EFX



quality of the signal to be maximised

through using all the available headroom.

Furthermore, the main stereo mix has 10-

segment LED meters with a PFL Active LED

to indicate that channels are being solo’d.

Rack ears are included with

12 channel consoles.

KEY FEATURES EPM

6/8/12

2

None

8/12

1

1

EFX

• Built-in Lexicon 24-bit effects

• Multi-point signal channel status monitoring

with proportional illumination

• Precision GB30 mic pre-amps

• True, professional +48V phantom power

for condenser microphones

• Insert points for external processing

• Choice of frame sizes, each with 2 stereo

inputs

• Aux sends globally switchable pre or post-

fade

• FX send


• Simple rack mounting options



Soundcraft MFXi/MPMi mixers are

compact and ideally equipped for live

sound applications including fixed

installations, houses of worship and

portable PA.

8, 12 and 20 mono input MFXi mixers

are empowered by built-in 24-bit Lexicon

processing, delivering 32 stunning

reverb, delay and chorus effects (see

opening page). The MPMi versions

replace the MFXi internal FX send with a

third Aux send for operators preferring to

use external effects. All MFXi/MPMi

mixers include 2 stereo input channels

along with a 2-track record output and a

2-track replay input which allows interval

music to be easily played from CD, MP3

or other music source.

For increased versatility, each model

in the MFXi/MPMi range has two

subgroups as well as a main stereo

mix, making control of groups of

channels much easier to manage. These

are supplemented by 2 (MFXi) or 3

(MPMi) Auxiliary busses which can be

used for effects sends or to provide a

foldback monitor mix for artists.

The MFXi/MPMi consoles

use vertically mounted

PCBs which are secured

with nutted pots for extra

strength, stability and

easy servicing. Well-spaced controls

provide easy access at those critical

control moments, enhanced by clear

legending which highlights linked or

associated functions.

Sound quality is assured by Soundcraft’s

now-legendary GB30 mic preamp andthe use of professional condenser

microphones is facilitated by the

provision of globally switched +48V

phantom power. New circuit designs

have improved audio quality, and

lowered the overall noise floor of the

console and FX sections. An integral

universal power supply negates the need

for an external power module.

Rack ears are included with

12 channel consoles.

MFXi/MPMi



MORE CHANNELS, MORE AUXES AND 2 GROUP BUSSES.

WHEN YOU NEED EVEN GREATER FLEXIBILITY,

YOU NEED MFXi/MPMi.

KEY FEATURES MPMi

12/20

18/26

1 + 1 pre fadeand 1 post fade

None

8/12/20

16/20/28

1 + 1 pre fade

1

MFXi

• Built-in Lexicon 24-bit effects

• Precision GB30 mic pre-amps

• True, professional +48V phantom power for

condenser microphones

• 2 Group busses

• Stereo Mix output

• Number of Mic inputs, all with 2 stereo line

inputs

• Maximum inputs to mix

• Aux sends, globally switchable pre or

post-fade

• FX send


• Optional rack ears (standard on 12 channel)

The addition of a Kensington lock slot on

MFXi/MPMi consoles provides a welcome

level of security in installations.



EVEN THE SMALLEST JOBS DESERVE A WORLD CLASS MIXER.

In applications including A/V

presentations, small band PAs and

background music systems, you may only

have a small number of channels to mix –

but you still want to mix them properly.

The Notepad 102, 124 and 124FX models

boast Soundcraft audio performance with

the acclaimed GB30 mic preamp and EQ

technology in a highly-compact and solid

chassis. Each 124 model has 4 mono

mic/line inputs while the Notepad 102

has 2 mono mic/line inputs. All modelsboast 4 stereo line inputs, and suit a very

wide range of applications where simple

yet high-quality mixing is required.

The Notepad 124FX is complemented by

an integral digital effects processor which

has a feed from every input and over 100

effects, including a pink noise and test

setting. The FX control can also be used to

set delay tap tempo, a feature not found in

many mixers in this class. On the Notepad

124, the FX send is replaced by a standard

AUX send with a dedicated output. Both

models provide a recording output of themix on RCA/Phono connectors as well as a

stereo input for CD playback etc.

Other highly-desirable functions include a

high-pass filter on the mono inputs, a

60mm fader for the mix output selectable

sensitivity of +4dBu or 10-dBv on each

stereo input (Notepad 124 models only)

and multi-segment led metering on the

mix output along with a headphone

monitoring output.

NOTEPAD



KEY FEATURES 102 124 124FX

· Mic inputs with precision GB30 mic preamps 2 4 4

• Stereo line channels for use with keyboards, MP3 player, etc. 4 4 4

• Switchable +dB V on stereo inputs

· Classic sounding Soundcraft GB30 3 band British EQ

· 100Hz High Pass filter on each mic input

• Over 100 powerful built-in digital effects

• +48V phantom power (global)

· Aux/FX sends 1 1 1



MONO INPUT MODULE

Mic Input

A female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is

extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Insert

A pre-EQ insert is available on a 1/4" jack.

Direct Output

A Direct Output for multitrack recording is available on a 1/4" jack and can be switched pre/post fader.

Sensitivity

A rotary control on each input alters the sensitivity of the input signal, from -60dBu to 0dB.

High Pass Filter

A switchable stereo 18dB/octave 100Hz high-pass filter can be used to cut stage rumble.

EQ Section

Equalisation is split into three bands with shelving HF and LF controls providing 15dB of cut or boost

(gain adjustment) at 12kHz and 80Hz. A swept mid frequency control enables frequencies from 150Hz to

3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency, with a Q of 1.5.

Auxiliary Section

For sending separate monitor mixes in live applications, or for use with FX units, three Aux sends on each

input channel cater for all requirements. Aux 1 is permanently sourced pre-fade, Aux 2 is individually

switchable pre/post fade and Aux 3 is permanently sourced post fade.

FX Send

For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, Sub, Mix and Solo

The Pan control positions each channel’s signal across the stereo image, with a Mute button to cut the

signal completely. The Sub/Mix buttons sends the signal to a separate group (for multitrack recording or

to an additional set of speakers) or to a subgroup to mix. Both Solo In Place and PFL solo are available,

for studio monitoring and channel gain set-up applications respectively.

Faders and Metering

Each mono channel features a smooth 100mm fader, and a peak level LED indicating signal levels within

6dB of clipping.

MASTER SECTION

Effects

A rotary control selects the effect program, with three rotary controls for effect parameters and one to

control the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for

time/speed-based effects such as delays). Footswitch input for FX on/off.

+48V Phantom Power Dual global control over professional +48V phantom power is offered via push buttons (split channels 1-

8 and 9-16). LEDs illuminate when active.

2-Track Inputs

2-track recorder inputs are on unbalanced RCA phono connectors. A 2-track level control is also

provided.

Monitor Output and Mix Insert

Available on balanced 1/4" jacks.

Sub Group Output and Insert

Available on balanced 1/4" jacks.

Mix Outputs

The main left and right mix outputs are provided on balanced XLR connectors.

Monitor & Phones Level

Levels sent to the monitor output and headphones can be independently adjusted using these two rotary

controls. And when a pair of headphones are plugged into the phones socket at the bottom right of the

mixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer.

Faders and Metering

Controlling the sub group outputs and overall stereo mix level are two pairs of 100mm faders, with a Sub

to Mix switch provided. Two 10-segment 3-colour LED peak-reading bargraph meters display the L-R

output levels, which are replaced by an active Solo signal. A Solo Mode switch selects PFL/AFL Solo or

SIP Solo, indicated by LEDs. 2-track, Mix and Sub selector switches are also provided.

Aux Outputs and Stereo Returns

3 Aux outputs are available on 1/4" jack, each with rotary level controls and AFL switch. In addition, a

rotary level control and AFL switch is provided for FX. 4 pairs of stereo returns are provided on 1/4" jacks.

Returns 1-3 have their own level control switchable to Aux 1 or 2 with a separate level control switchable

to Mix or Sub. Return 4 has its own level control switchable to Aux 3 or FX send with a separate level

control switchable to Mix or Sub. The FX return has its own level control switchable to Aux 1 or 2 with a

separate level control switchable to Mix or Sub.

FX16iiMono Input Channel

FX16iiMaster Section

MONO INPUT, STEREO INPUT & MASTER SECTION



BLOCK DIAGRAMS



EFX Mono

Input Channel

EFX Stereo

Input Channel

EFX Master

Section


MONO INPUT MODULE

Mic InputA gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dBuEIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line InputA balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

InsertUsed for patching in compressors or additional EQ or for other signal processors. It can also be used for

recording to multi-track recorders if necessary.

GainA rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputshave -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over the entiregain range.

EQ SectionEqualisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signals below80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or boost).

Auxiliary SectionOne (EFX) or two (EPM) Aux for sending separate monitor mixes in live applications, or for use withexternal effects. The Aux bus(es) can be globally switched to be pre or post fade on the master section.

FX Send (EFX only)For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, and PFL The Pan control positions each channel’s signal across the stereo image, with a Mute button to cut thesignal completely. A PFL button solos the signal for monitoring.

Faders and Metering Each mono channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

STEREO INPUT CHANNEL

Input Connectors The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance withother professional audio equipment.

EQ Section The EFX features three fixed shelving controls, adjusting HF signals at 8kHz by ±15db, MF signals at 720Hz by ±15db and LF signals at 60Hz by ±15dB. The EPM features two fixed shelv ing controls,adjusting HF signals at 12kHz by ±15dBu and LF signals at 80Hz by ±15dB.

Auxiliary Section The signal(s) can be sent pre-fade or post-fade according to master selection, for use in a monitor mix or for effects processing.

FX Send (EFX only)For sending signal to the internal 24-bit Lexicon effects.

Bal, Muting, and PFL The Balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttonsoperate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed, the prefadesignal is fed to the headphones, control room output and meters.

Faders and Metering Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

MASTER SECTION

Effects (EFX only)A rotary control selects the effect program, with three rotary controls for effect parameters and one tocontrol the effects level sent to Aux 1. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off.

+48V Phantom Power Global control over professional +48V phantom power is offered via a push button. When active, an LEDwill illuminate.

2-Track Inputs and Outputs

2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor Playback routes the playback input to your monitoring system or to the headphones, replacing anyexisting monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing any signal that may be present, perfect for intermission music or as a master mute.

Monitor Output and Mix InsertAvailable on balanced 1/4" jacks.

Stereo Return (EFX only)Available on 1/4" jacks with level control for use with external processors.

Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors.

Monitor & Phones LevelLevels sent to the monitor output and headphones can be independently adjusted using these two rotarycontrols. And when a pair of headphones are plugged into the phones socket at the bottom right of themixer, the monitor outputs are still operational for simultaneous listening by a performer and engineer.

Faders and Metering Controlling the overall stereo mix level are two 60mm faders, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and right outputs. These meters normally follow thecurrent monitor selection, so if any PFL button is pressed, the meters will switch to monitor this and the

PFL Active LED will light.

EFX - EPM: THE DIFFERENCES

EFX input channels feature an FX send to the internal Lexicon effects processor, along with a singleAux send for use with external processors, or to create a monitor mix.

With no internal Lexicon effects, EPM input channels replace the FX send with a second Aux send.

The EFX stereo input channels feature 3-band EQ. The EPM stereo input channels features 2-band EQ.



BLOCK DIAGRAMS




MFXi Mono

Input Channel

MFXi Stereo

Input Channel

MFXi Master

Section

MONO INPUT MODULE

Mic InputA gold-plated balanced female XLR connector accepts balanced or unbalanced mic signals. At -127dbu EIN the mic amp is extremely quiet and transparent with excellent overload characteristics.

Line InputA balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

InsertUsed for patching in compressors or additional EQ or for other signal processors. It can also be used

for recording to multi-track recorders if necessary.GainA rotary gain control on each input alters the gain of the input signal, from +5 to +60dB (Line Inputshave -15dB attenuation). Linear circuitry within the preamp delivers smooth gain control over theentire gain range.

EQ SectionEqualisation is split into three bands. The shelving HF control provides 15dB of cut or boost (gainadjustment) for frequencies above 12kHz. A swept mid frequency control enables frequencies from150Hz to 3.5kHz to be adjusted with up to 15dB of cut or boost at the selected frequency. Signalsbelow 80Hz can be adjusted with the LF control, which features ±15dB of gain adjustment (cut or boost).

Auxiliary Section Two (MFXi) or three (MPMi) Aux sends for sending separate monitor mixes in live applications, or for use with external effects. In the Master Section, each Aux bus has its own master level control and AFL.Aux 1 is fixed pre-fade, Aux 2 is switchable pre or post-fade, and Aux 3 (FX on MFXi) is set post-fade.

FX Send (MFXi only)For sending signal to the internal 24-bit Lexicon effects.

Pan, Muting, PFL and Routing The Pan control positions each channel’s signal across the stereo image, with an illuminated Mute

switch to cut the signal completely. A PFL button solos the signal for monitoring. The mono channelscan be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering Each mono channel features a smooth 60mm fader, along with Signal Present and Peak levelindicator LEDs, which are located just above the fader for easy viewing of signal status.


Input Connectors The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance withother professional audio equipment.

EQ Section There are three fixed shelving controls, adjusting HF signals at 8kHz by ±15db, MF signals at 720Hzby ±15db and LF signals at 60Hz by ±15dB.

Auxiliary SectionWith 2 (MFXi) or 3 (MPMi) Axum sends on the stereo input channels, the signal can be sent pre-fade(Aux 1), pre or post-fade (Aux 2) or post-fade (Aux 3/FX). Aux 2 is switchable pre or post-fade on theMaster section.

FX Send (MFXi only)

For sending signal to the internal 24-bit Lexicon effects.Bal, Muting, PFL and Routing

The balance control adjusts the amount of the signal sent to the left and right busses. Mute and PFL buttons operate as on the mono input channels, cutting or soloing the stereo channel. With PFL pressed,the prefade signal is fed to the headphones, control room output and meters. The stereo input channelscan be routed to either the main Mix outputs or the Sub Groups via the Mix/Grp switch.

Faders and Metering Each stereo channel features a smooth 60mm fader, and a peak level LED indicating signal levels inexcess of +17dBu.

MASTER SECTION

Effects (MFXi only)A rotary control selects the effect program, with three rotary controls for effect parameters and two tocontrol the effects level sent to Auxes 1 and 2. Buttons for PFL, Mute, Store (user effect set-up) and Tap Tempo (for time/speed-based effects such as delays). Footswitch input for FX on/off. The FX returnfader has both Signal present and Peak LEDs for easy viewing of signal status. The FX master has AFL switching to check the level of the signal being sent to the FX section (or external processor).

+48V Phantom Power Global control over professional +48V phantom power is offered via a push button. When active, an

LED will illuminate.2-Track Inputs and Outputs2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. ThePlayback to Mix control routes the signal directly to the main mix, replacing the signal that is present.

Monitor Switching Monitor outputs are selectable from 2-Track input, and Mix or Sub outputs.

Monitor OutputsAvailable on balanced 1/4" jacks, the Headphone and Control Room monitor outputs featureindependent level control.

Mix Outputs The main left and right mix outputs are provided on balanced XLR connectors.

Stereo Return (MFXi only)Available on 1/4" jacks with level control for use with external processors.

Sub Groups

Control over the Sub Groups comes via L-R Sub Group faders. The Sub Group outputs are 1/4" jacks

Faders and Metering L-R Group faders control the Sub Group levels while overall stereo mix is handled by a single 60mmfader, with two 10-segment 3-colour LED peak-reading bargraph meters monitoring the mix left and

right outputs. These meters normally follow the current monitor selection, so if any PFL button ispressed, the meters will switch to monitor this and the PFL Active LED will light.

MFXi - MPMi: THE DIFFERENCES

MFXi input channels feature an FX send to the internal Lexicon effects processor, along with 2 Aux sends for use with external processors, or to create a monitor mix. MFXi consoles include anadditional stereo return to mix with its own level control.

With no internal Lexicon effects, MPMi input channels replace the FX send with a third Aux send.



MONO INPUT MODULE

Mic Input

A female XLR connector accepts balanced or unbalanced mic signals. At -128.5dbu EIN the mic amp is

extremely quiet and transparent with excellent overload characteristics.

Line Input

A balanced 1/4" jack for connecting balanced or unbalanced electronic instruments, such as keyboards.

Sensitivity

A rotary control on each input alters the sensitivity of the input signal, with a gain range of 5 - 60dB.

High Pass Filter

A switchable 100Hz high-pass filter can be used to cut stage rumble.

EQ Section

Equalisation is split into three bands providing 15dB of cut or boost (gain adjustment) at 12kHz, 1kHz

and 80Hz.

Auxiliary Section

For sending separate monitor mixes in live applications, the Aux send is pre fader (102/124 only).

FX Send

For sending signal to the internal effects (124FX only).

Pan

The Pan control positions each channel’s signal across the stereo image.

Faders and Metering

Each mono channel features a rotary fader, and a peak level LED indicating signal levels within 6dB of

clipping.


Input Connectors

The stereo inputs are connected via balanced 1/4" jack inputs, delivering optimum performance with

other professional audio equipment. Input sensitivity is switchable from +4dBu to -10dBV to

accommodate professional and consumer equipment (124/124FX only). The 102 features 2 balanced

1/4" jack inputs at +4dBu for connecting professional equipment and 2 on RCA phono connectors for

consumer equipment.

Auxiliary Section

For sending separate monitor mixes in live applications, the Aux send is pre fader (102/124 only).

FX Send

For sending signal to the internal effects (124FX only).

Bal

The Balance control adjusts the amount of the signal sent to the left and right busses.

Faders and Metering

Each stereo channel features a rotary fader, and a peak level LED indicating signal levels in excess of

+17dBu.

MASTER SECTION

Effects (124FX only)

A rotary control selects the effect program, with another rotary control setting the FX level to the main L/R

outputs. FX to Mon switches the FX to the L/R monitor outputs. The program control is also used for the

Tap Tempo facility, for time/speed-based effects such as delays.

+48V Phantom Power

Global control over professional +48V phantom power is offered via a push button. When active, an LED

will illuminate.

2-Track Inputs and Outputs

2-track recorder playback inputs and record sends are on unbalanced RCA phono connectors. Monitor

Playback routes the playback input to your monitoring system or to the headphones, replacing any

existing monitoring signals. Playback to Mix routes the playback signal directly to the main mix, replacing

any signal that may be present, perfect for intermission music or as a master mute.

Monitor OutputAvailable on balanced 1/4" jacks.

Stereo Return

Available on 1/4" jacks with level control for use with external processors.

Mix Outputs

The main left and right mix outputs are provided on on balanced 1/4" jacks.

Monitor & Phones Level

Levels sent to the monitor output and headphones are adjusted using a rotary control. And when a pair of

headphones are plugged into the phones socket at the bottom right of the mixer, the monitor outputs are

still operational for simultaneous listening by a performer and engineer.

Faders and Metering

Controlling the overall stereo mix level is a 60mm fader, with two 4-segment 3-colour LED peak-reading

bargraph meters monitoring the mix left and right outputs.




BLOCK DIAGRAMS

AUX MIX

STEREO CHANNELS 5 -12 Notepad 124 (3-6 on Notepad 102)

MAIN MIX

MONO CHANNELS 1~4 (1-2 on Notepad 102)

-

-

M A I N

L

A U X

A U X

M A I N

R

M A I N

R

M A I N

L

Global +48V

HIGH PASS

AUX TO MON

2T RTN R

MAIN FADER

L(5/7/9/11)

REC OUT R

2-TRK TO MAIN

R(6/8/10/12)

PHONES

MID

2T TO MON

GAIN

MIC IN1 2

3

PAN

LEVEL

L METER

BALANCE

LEVEL

PEAK

AUX SEND

LINE IN

REC OUT L

EQ

MON L

2T RTN L

AUX

100Hz HPF

AUX

MON/PHONES

LEVEL

MAIN R

R METER

MON R

LOWHIGH

MAIN L

+48V

AUX MASTER

+4/-10(+4 onNotepad102)

STEREO CHANNELS 7 -10 Notepad 102

L(7/9)

R(8/10)

LEVEL

BALANCE

LEVEL

AUX

-10dBV onNotepad102)

FX MIX

STEREO CHANNELS 5 -12

MAIN MIX

MONO CHANNELS 1~4

L

R

NOTEPAD 124FX BLOCK DIAGRAM

-

-

M A I N

L

F X

F X

M A I N

R

M A I N

R

M A I N

L

Global +48V

HIGH PASS

FX TO MON

2T RTN R

MAIN FADER

L(5/7/9/11)

REC OUT R

2-TRK TO MAIN

R(6/8/10/12)

PHONES

MID

2T TO MON

GAIN

MIC IN1 2

3

PAN

FX TO MAIN

LEVEL

L METER

PAN (BALANACE)

PROGRAM

DIGITAL FX PROCESSOR

LEVEL

PEAK

FX SEND

LINE IN

REC OUT L

+4/-10

EQ

MON L

2T RTN L

FX

100Hz HPF

FX

MON/PHONES

LEVEL

MAIN R

R METER

MON R

LOWHIGH

MAIN L

+48V

Notepad 102/124

Notepad 124FX



DIMENSIONS & WEIGHTS

Width Height Depth Weight

EPM6 280mm (11.0") 91mm (3.6") 362mm (14.3") 4.0 kg (8.8 lbs)

EPM8 330mm (13.0") 91mm (3.6") 362mm (14.3") 4.6 kg (10.1 lbs)

EPM12 432mm (17.0") 91mm (3.6") 362mm (14.3") 5.8 kg (12.8 lbs)


EFX8 330mm (13.0") 91mm (3.6") 362mm (14.3") 4.6 kg (10.1 lbs)

EFX12 432mm (17.0") 91mm (3.6") 362mm (14.3") 5.8 kg (12.8 lbs)


MFXi8/2 383mm (15") 94mm (3.7") 405mm (16.0") 4.0 kg (8.8 lbs)

MFXi12/2 482mm (19.0") 94mm (3.7") 405mm (16.0") 6.7 kg (14.8 lbs)

MFXi20/2 688mm (27.0") 94mm (3.7") 405mm (16.0") 9.3 kg (20.4 lbs)


102 215mm (8.5") 45mm (1.8") 220mm (8.7") 1.2 kg (2.6 lbs)

124 242mm (9.5") 45mm (1.8") 220mm (8.7") 1.6 kg (3.5 lbs)

124FX 242mm (9.5") 45mm (1.8") 220mm (8.7") 1.6 kg (3.5 lbs)


FX16ii 442mm (17.4") 148mm (5.8") 442mm (17.4") 8.5 kg (19.0 lbs)

FX16ii 481mm (19") 148mm (5.8") 442mm (17.4") 8.5 kg (19.0 lbs)

with rack

ears (10U)


MPMi12/2 482mm (19.0") 94mm (3.7") 405mm (16.0") 6.7 kg (14.8 lbs)MPMi20/2 688mm (27.0") 94mm (3.7") 405mm (16.0") 9.3 kg (20.4 lbs)



FX16ii TYPICAL SPECIFICATIONS

Frequency Response Mic / Line Input to any Output ................................. +/-1dB, 20Hz – 20kHz

T.H.D. Mic Sensitivity -30dBu, +14dBu @ Mix output.................. < 0.09% @ 1kHz

Noise Mic Input E.I.N. (maximum gain)......................... -127dBu (150Ω source)

Aux, Mix and Masters (@ 0dB, faders down)................................ < -84dBu

Crosstalk Channel Mute................................................................................ > 96dB

(@ 1kHz) Aux Send Pots Offness................................................................... > 86dB

EQ HF ................................................................................... 12kHz, +/-15dB

(Mono inputs) MF (swept)........................................................ 150Hz – 3.5kHz, +/-15dB

LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

Power Consumption ........................................................................................... Less than 40W

Operating Conditions Temperature Range ............................................................. 5°C to +40°C

Input & Output Mic Input ............................................................................ +15dBu max.

Levels Line Input............................................................................. +30dBu max.

Stereo Input......................................................................... +30dBu max.

Mix Output .......................................................................... +20dBu max.

Headphones (@150Ω) .................................................................. 300mW

Input & Output Mic Input .......................................................................................... 2kΩImpedances Line Input ....................................................................................... 10kΩ

Stereo Input ............................................... 65kΩ (stereo), 35kΩ (mono)

Outputs ......................................... 150Ω (balanced), 75Ω (unbalanced)

MPMi/MFXi TYPICAL SPECIFICATIONS

Frequency Response Mic / Line Input to any Output .............................. +/-1.5dB, 20Hz – 20kHz


Noise Mic Input E.I.N. (maximum gain)...................... -126.5dBu (150Ω source)




EQ HF ................................................................................... 12kHz, +/-15dB


LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

EQ HF ................................................................................... 12kHz, +/-15dB

(Stereo inputs) MF ................................................................................. 720Hz, +/-15dB

LF ..................................................................................... 80Hz, +/-15dB

Q (MF).................................................................................................. 0.8




Levels Line Input............................................................................. +30dBu max.

Stereo Input......................................................................... +30dBu max.


Headphones (@150Ω) .................................................................. 300mW

Recommended headphones impedance................................... 32 - 200Ω

Input & Output Mic Input .......................................................................................... 2kΩ

Impedances Line Input ....................................................................................... 10kΩ

Stereo Input .................................................................................... 45kΩ


EPM/EFX TYPICAL SPECIFICATIONS

Frequency Response Mic/ Line Input to any Output .............................. +/-1.5dB, 20Hz – 20kHz


Noise Mic Input E.I.N. (maximum gain) ......................... -127dBu (150Ω source)




EQ HF ................................................................................... 12kHz, +/-15dB


LF...................................................................................... 80Hz, +/-15dB

Q .......................................................................................................... 1.5

EQ HF ................................................................................... 12kHz, +/-15dB

(Stereo inputs) MF (EFX Only) ................................................................. 720Hz, +/-15dB

LF ..................................................................................... 80Hz, +/-15dB

Q (MF).................................................................................................. 0.8




Levels Line Input............................................................................. +30dBu max.Stereo Input......................................................................... +30dBu max.


Headphones (@150Ω) .................................................................. 300mW

Input & Output Mic Input .......................................................................................... 2kΩ

Impedances Line Input ....................................................................................... 10kΩ

Stereo Input ............................................... 65kΩ (stereo), 35kΩ (mono)


NOTEPAD TYPICAL SPECIFICATIONS

Frequency Response Mic/ Line Input to any Output . . . . . . . . . . . . . +1/-1.5dB, 20Hz – 20kHz

T.H.D. Mic Sensitivity -30dBu, +10dBu @ Mix output . . . . . . . < 0.005% @ 1kHz

Noise Mic Input E.I.N. (maximum gain) . . . . . . . . . . -128.5dBm (150Ω source)

Aux, Mix and Masters (@ 0dB, at unity) . . . . . . . . . . . . . . . . . . . < -85dBu

Crosstalk Channel Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 87dB

(@ 1kHz) Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 100dB

CMRR (@ 1kHz) Master Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > 90dB

EQ High Pass Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 100Hz @ 12dB/Octave

HF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12kHz, +/-15dB,

MF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1kHz, +/-15dB

LF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Hz, +/-15dB

Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0.7

Power Consumption Less than 40W

Operating Conditions Temperature Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5°C to 40°C

Input & Output Mic Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +10dBu max.

Levels Line Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +22dBu max.Stereo Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +20dBu max.

Mix Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . +25dBu max.

Headphones (@32Ω) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300mW

Input & Output Mic Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2kΩ

Impedances Line Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18kΩ

Stereo Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20kΩ

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Ω

SPECIFICATIONS

Note: These figures are typical of performance in a normal electromagnetic environment and are often exceeded. Performance may be degraded in severe conditions. All measurements refer to electronically balanced inputs and outputs.



Soundcraft Registered Community Trade Mark/RTM No. 000557827

SOUNDCRAFT

HARMAN INTERNATIONAL INDUSTRIES LTD.,

CRANBORNE HOUSE, CRANBORNE ROAD

POTTERS BAR, HERTS, EN6 3JN, UK

T: +44 (0)1707 665000

F: +44 (0)1707 660742

E: [email protected]

SOUNDCRAFT USA

8500 BALBOA BLVD.

NORTHRIDGE, CA 91329, USA

T: +1-818-920-3212

F: +1-818-920-3208

E: [email protected]

www.soundcraft.com

Soundcraft reserves the right to improve or otherwise alter any

information supplied in this document or any other documentation

supplied hereafter. E&OE 11/10

This equipment complies with the EMC Directive 89/336/EEC

Part No: ZL0605

GRAHAM BLYTH FRSA

To mark Soundcraft’s 30th anniversary, co-founder and

Technical Director, Graham Blyth, took a well established

and classic Soundcraft microphone preamplifier to a

new level of performance, resulting in the new GB30

preamp which boasts extraordinary clarity with

exceptionally controlled overload characteristics.

Dealer / Distributor

compact range bro 1110

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